by Barry Goldman

Those are my principles, and if you don’t like them… well, I have others. —Groucho Marx

It’s easy to ridicule politicians for their lack of principle. Mitch McConnell comes immediately to mind. When Antonin Scalia died nine months before the 2016 election, President Obama nominated Merrick Garland to replace him on the Supreme Court. McConnell refused even to give Garland a hearing. He said, “The American people may well elect a president who decides to nominate Judge Garland for Senate consideration. The next president may also nominate someone very different. Either way, our view is this: Give the people a voice.”

Four years later when Ruth Bader Ginsberg died 47 days before the 2020 election, President Trump nominated Amy Coney Barrett. The voice of the people did not figure in McConnell’s calculations. He fast-tracked Barrett’s nomination, cut off debate, and engineered her confirmation eight days before the election, after millions of Americans had voted.

Predictably, there were loud cries of hypocrisy. Just as predictably, they had no effect. The universe of politicians is not a good place to look for moral principle.

How about the courts? The whole idea of the rule of law is that laws are supposed to be based on principle, applied without fear or favor, and above politics. The reality, of course, is otherwise. Read more »

by Brooks Riley

by Rebecca Baumgartner

It feels like every week tech journalism brings us a dispatch about the “end” of something: we’re told now that we’re reaching the end of foreign-language education due to advances in AI translation. 

It’s true that no field of study is immune from journalistic swagger about our AI-saturated future, but this seems especially true for the arts and humanities, which have been said to be declining for a long time – and which, because their defenders struggle to articulate a compelling ROI, make them appear, to some people, ideal for outsourcing. According to this view, learning French is on a level with monotonously picking orders in a warehouse: If nobody wants to do it, let’s make the AI do it. And it seems that fewer and fewer of us want to learn French – and most other languages, too.

I think the world would be a better place if no human being had to pick orders in a warehouse ever again. By all means, let the robots knock themselves out trying to optimize how quickly we get our Amazon orders. They don’t have a soul to crush. But unlike the rote, mindless work that many humans currently have to do to make a living, creating and enjoying culture isn’t a burden we should rush to relieve ourselves of. Cultural products are not something that can – or should – be optimized in the way that AI models (and the humans behind them) lead us to believe they can.

By the way, it’s important to note that this has nothing to do with whether AI language models can translate a given text “correctly” (however that’s defined for a given text). It’s not even a question of whether the resulting translation is good or not, according to some normative standard of eloquence or naturalness.  Read more »

Rust dripping down the side of an old blue railway carriage, from a horizontal iron bar not included in this photo, at the train station in Franzensfeste, South Tyrol.

by Terese Svoboda

The Slavs inspired the word “slave.” Abductions in Eastern Europe began in the ninth century AD conducted by Spanish Muslims, and the area is still plagued by human trafficking (especially children), with a million more victims per year than in the Americas. ^[1] My surname means freedom in Ukrainian, Russian and Czech. My ancestors flaunted their liberty at a time when many others were being enslaved – or were they once enslaved and took on this patronymic after they escaped slavery, or were they freed? Many Blacks in the US took on the name Freedman or Freeman after the Civil War.^[2]

Few know that Blacks were freed twice before the end of the American Revolution. Eighty-seven years prior to the Emancipation Proclamation, in November, 1775, during the year before the Declaration of Independence, Dunmore’s Proclamation ordered the slaves freed in Virginia. Lord Dunmore, the royal governor of Virginia, was cornered by colonists on a ship in the Norfolk harbor with only 300 soldiers at the time. His proclamation did not stem from any moral or religious objections to slavery. As governor of Virginia, he had withheld his signature from a bill against the slave trade. He simply wanted help – to use Blacks to protect the Loyalists.

Only months before, Dunmore had been quite popular with all Virginians, Loyalists and patriots, as victor of  the Battle of Point Pleasant. Marching alongside a thousand of his ragtag backwoodsmen, he routed the area’s Native Americans, opening up a huge area of West Virginia and Ohio for settlement and speculation. Although treaties had been in place for some time, Dunmore ignored them.^[3] George Washington, head engineer of the frontier fort construction on the West Virginia/Ohio border, had purchased quite a bit of its acreage, and like the other developers in the area, wanted the Native Americans gone. No freedom for them. Forced to abandon hundreds of acres of corn and semi-permanent homes, the Native Americans were not counted as “brave and free people” that the Virginians declared themselves to be in their many Resolves published in response to Lord Dunmore’s Proclamation a year later. Read more »

What A Moment Is

A moment’s a poet’s take of a singular blur
as tentative as an airborne bubble and
hard as a hammer blow to thumb,
the smallest thing able to contain an unimaginable universe,
a universe able to imagine the smallest thing.

Her’s one now, notice how quick— joy, gone.
Hear’ s  another,   notice    how    slow—  pain,   gone.

A moment’s as swift as that, as if a bullet grazing an ear,
as if a celestial spark in a thunderstorm,
as brief as a flash of thought instantly forgotten in regret
as in love lost and won again, tiny as a lepton
crammed with next . . .

Jim Culleny
7/26/22

by William Benzon

I give up.

ONE: An Alien

A.I. is a visitor from another planet, perhaps even from another galaxy, maybe from the beginning of the universe, or the end. Is it friend, or foe? Does it want to see our leader? Perhaps it is interested in our water supply. Maybe it’s concerned about our propensity for war and our development of atomic weaponry. Or perhaps it is just lost, and is looking for a bit of conversation before setting out to find its way back home.

TWO: A Walk in the Park

Or a lark ascending. A cool breeze. A trip to the bank. Godzilla’s breath. Rounding third base. I’ve lost track.

THREE: Code

But really, it’s not that fanciful. It’s just code. Ones and zeros. No more, no less. In itself, nothing. In context, anything at all.

FOUR: A Mirage

An object of desire. An aphrodisiac. But also a soporific, an emetic, a vaccine, a laxative, and stimulant. Neither snake oil, nor homeopathic joy juice, A.I. brings sound to the blind, sight to the deaf, and courage to the faint of heart.

FIVE: Kumquat

None of the above. AIs are Kumquats.

Kumquats (/ˈkʌmkwɒt/ KUM-kwot), or cumquats in Australian English, are a group of small, angiosperm, fruit-bearing trees in the family Rutaceae. Their taxonomy is disputed. They were previously classified as forming the now-historical genus Fortunella or placed within Citrus, sensu lato. Different classifications have alternatively assigned them to anywhere from a single species, Citrus japonica, to numerous species representing each cultivar. Recent genomic analysis defines three pure species, Citrus hindsii, C. margarita and C. crassifolia, with C. × japonica being a hybrid of the last two.

The edible fruit closely resembles the orange (Citrus sinensis) in color, texture, and anatomy, but is much smaller, being approximately the size of a large olive. The kumquat is a fairly cold-hardy citrus. Read more »

Eddie Rodolfo Aparicio. White Dove Let US Fly, 2024.

Photo by Sughra Raza.

At the Whitney Biennial.

More here and here.

by Jeroen Bouterse

“You are aware”, I ask a pair of students celebrating their fourth successful die roll in a row, “that you are ruining this experiment?” They laugh obligingly. In four pairs, a small group of students is spending a few minutes rolling dice, awarding themselves 12 euros for every 5 or 6 and ‘losing’ 3 euros for every other outcome. I’m trying to set them up for the concept of expected value, first reminding them how to calculate their average winnings over several rounds, and then moving on to show how we calculate the expected average without recourse to experiment. It would be nice, of course, for their experimental average to be recognizably close to this number. Not least since this particular lesson is being observed by the Berlin board of education, and the outcome will determine whether or not I can get a teaching permit as a foreigner.

In case they are reading this, I would like to emphasize that I plan all my lessons with care and forethought; but for this particular one, you can bet I prepared especially well and left nothing to chance. Except for the part I left to chance, that is. To be precise: I had neglected to calculate in advance how likely it was for the experimental average over roughly 80 games to diverge from the expected value by a potentially confusing amount. I relied on my intuition, which informed me that 80 is a large number.

Turns out it’s not that large after all. The probability of at least 50 cents divergence (which would bring the experimental average at least as close to another integer as to the expected value of 2 euros) is, I have now figured out, a whopping 56%. There was only a 0.6% chance for the experimental average to exceed, as it did, 4 euros, but I had also implicitly accepted a 4% chance that the results would have been closest to 0 or even negative. Just imagine the damage that would have caused.

It would not have been the first time for a probability experiment to result in my pleading with my students to trust the math over actual results they have just seen with their own eyes. The Monty Hall problem has been especially awkward at times. Read more »

by Ed Simon

Past the regal bronze lions of Trafalgar Square and Nelson’s towering and triumphant column, up the steps of the National Gallery and behind it’s porticoed, columned, Regency façade, and on the second floor in room 34, the same place where the museum displays William Hogarth’s formal, yet warm, portrait The Graham Children and Joseph Turner’s dramatic Dutch Boats in a Gale, is the most luminescent painting of the British Enlightenment, Joseph Wright of Derby’s 1768 masterpiece An Experiment on a Bird in the Air Pump. Fully six feet tall by eight feet wide, Wright’s composition depicts a wizardly natural philosopher framed in long gray locks and draped in a red coat not dissimilar to a robe, contrasted by flickering candlelight in an eerie chiaroscuro, with his hand atop the perfectly spherical chamber of a vacuum pump, inside of which is a fluttering Australian cockatoo – exotic at the time – right before the pressure of the exhumed air crushes it’s tiny avian lungs. A number of characters witness the scientific presentation; a gentleman in powdered wig and green jacket gives the experiment his rapt attention, two young lovers seem more concerned with each other, an assistant boy at the window closes the bird’s cage while bathed in the light of a full moon, and an elderly man seems to time the demise with an intricate pocket watch.

Demonstrations such as these had been conducted for more than a century by the time Wright put brush to canvas, and during the eighteenth-century they were performed as often by theatrical presenters with a paying audience as they were by scientists, yet the choice of test subjects in these experiments was frequently as cruel as the painter depicted. Robert Boyle, the chemist and philosopher who commissioned the scientist and engineer Robert Hooke to construct England’s first air pump in 1659, records the results of an experiment on a lark, where as oxygen was pumped out of the chamber the bird “began manifestly to droop and appear sick, and very soon after was taken with as violent and irregular convulsions,” so that the animal “threw herself over and over two or three time, and died with her breast upward, her head downwards, and her neck awry.” The dispassionate empiricism of Boyle’s report is in keeping with the mechanistic philosophy which dominated the Royal Society, the scientific organization established by King Charles II’s proclamation shortly after Restoration in 1663, and to which the chemist would donate the vacuum pump. Read more »

by Brooks Riley

by David Winner 

Coming from a Jewish family that arrived in America between the Slave Trade and the Holocaust, I thought that we were ethically in the clear, but researching my family story for Master Lovers, a book about my great-aunt Dorle’s love life in the 1930s, brought me face to face with famously fraught questions about evil and prejudice and the degree to which art and/or historical context can relieve us of its burdens.  I thought of Ezra Pound’s and T.S. Eliot’s fascism, of course, Dustin Hoffman, Keven Spacy, and all the other actor/molesters but also Alice Walker’s interrogation of the Talmud, antisemitic or simply pro-Palestinian.  And V.S. Naipaul, Indian from Trinidad, whose work (Bend in the River, India: A Wounded Civilization) skewered the post-colonial world.

Dorle Jarmel Soria, a Jewish woman who was a force in mid-century music, integral to both Leonard Bernstein and Maria Callas’s careers, and her husband Dario, who’d fled Rome after the Mussolini/Hitler pact, essentially raised my father.  Once, he questioned Dorle about her friend soprano Elizabeth Schwarzkopf’s, close relationship (maybe affair) with Goebbels only to be rebuffed by the claim that “great art” lay “outside of politics.”  And learning more about both her family and her lover, John Franklin Carter, whom she nearly married, revealed more dark associations.  Ben Affleck convinced Henry Louis Gates not to reveal his enslaved-owning ancestors, but I – unfamous, little to lose – feel driven to out my family.  Dorle, who smoked Benson & Hedges, drank gin and tonics, and traveled to Capri well into her nineties always recalled Graham Green’s beloved Aunt Augusta (Travels with my Aunt), but learning more about her made her seem more like Aunt Denver from Beloved, Heathcliff perhaps, someone haunted by their past.

By age thirty, I knew only a few “facts” about my Jewish family: our name did not come from Weiner, we were from somewhere near Poland, a distant relative translated the Declaration of Independence or was it the Constitution into Hebrew or Yiddish.  Whereas my mother’s mother, born in Hapsburg Prague, compiled a genealogy going back centuries, my father’s Jewish side was apparently the family who fell to earth. Read more »

Magnolias and blue sky last week in Meran, South Tyrol.

by Rafaël Newman

Notational

A Zurich-based translator answers an ad that reminds him of his youth and is sent several lapel pins, or buttons, bearing the likeness of a 20^th-century French poet emblazoned with a motto. The creator of these buttons, a Chicago-based teacher, does not charge for his products, but asks only that they be worn. Their recipient is happy to comply.

The two men have not yet met in person; nevertheless, they discover a shared bond in their love of poetry and music, and begin to correspond. The second man eventually sends the first a new shipment of buttons (which he has been manufacturing together with his daughter), this time featuring the masked face of a contemporary Edinburgh-based artist and a new motto, once again free of charge. The first man agrees to wear these as well, especially since they give him the beribboned air of the dandy he once was.

The first man is then moved to distribute both series of buttons to people he meets during his travels, abroad and in his country of residence, on buses and at gatherings, and to photograph himself with these new recipients. He shares the photographs with the second man, as well as with the Edinburgh-based artist, who is, unlike the French writer, still alive. Read more »

by Bill Murray

First a note on the April 8th North American eclipse: Many people have seen a partial eclipse of the sun and wondered what all the fuss is about. The sky looks out of whack, things go all shimmery, you can see reflections of the partially occluded sun on leaves, animals act up, the sky darkens, maybe, and then it’s done.

That is a partial eclipse. The experience inside the narrow band of earth where the sun is entirely covered, called “totality,” is nothing like a partial eclipse. Two weeks from today North America experiences the longest path of totality for any eclipse this century.

The band of totality will be about 115 miles wide. Lots of people have the chance to get underneath it. If you’re interested, don’t settle for partial; go and find totality.

The longest totality in the US will be four minutes and 24 seconds. By comparison, the longest totality anywhere in the US for the 2017 eclipse lasted only two minutes and 41 seconds. These may sound like just statistics, but nearly five minutes of totality is a big deal. People pursue even a minute of totality across continents.

Totality is utterly unique. It’s something else entirely. Totality pulses with raw, brute, human-diminishing power. Read more »